A.M.I.S. – COMO ANTIQVAE MVSICAE ITALICAE STVDIOSI
CSA – CENTRO STUDI ANTONIANI - PADOVA
con il patrocinio della Società Italiana di Musicologia
XVI CONVEGNO INTERNAZIONALE SUL BAROCCO PADANO (SECOLI XVII-XVIII)
Padova, Basilica del Santo
1-3 luglio 2013
Programma e resoconto
Lunedì I luglio, ore 9.30
- MANUEL BERTOLINI (Università degli Studi di Milano), L’affetto e la sua misura. La musica nella casistica penitenziale francescana.
- DAVID BRYANT (Università Ca’ Foscari di Venezia), La musica presso le chiese monastiche e parrocchiali di Padova.
- MAURIZIO PADOAN (Università Cattolica di Milano), La cappella di Sant’Antonio a Padova nel primo barocco.
- ROBERT KENDRICK (University of Chicago), L’ufficio per la settimana santa di Costanzo Porta: un apporto ascrivibile alla tradizione francescana?
- ANNE SCHNOEBELEN (Rice University, Houston), New Trends in Masses by Three Paduan Composers from the Early 17th Century.
- JEFFREY KURTZMAN (Washington University, St. Louis), Transposition and Vocal Ranges in the Sacred Music of Giulio Belli.
- FRED KISER (Coe College, Cedar Rapids), Giovanni Ghizzolo: Performance issues relating to the 1619 Messa, salmi, Lettanie della B.V., falsi bordoni et Gloria Patri concertati. Op. 15.
- FRANCESCO PASSADORE (Conservatorio di musica “Arrigo Pedrollo” di Vicenza), I Concerti ecclesiastici (1606) di Luigi Balbi.
Martedì 2 luglio, ore 9.30
- JONATHAN GLIXON (University of Kentucky), Music by and for Conventual Franciscans in Seventeenth-Century Venice.
- CHRISTINE GETZ (University of Iowa), Dal profano al sacro: una raccolta per San Francesco Grande a Milano.
- DANIELE TORELLI (Libera Università di Bolzano), Un compositore francescano milanese tra conventi padani e fortuna d'Oltremanica: i mottetti di Giovanni Battista Cesati.
- LICIA MARI (Università Cattolica di Brescia), Valerio Bona ‘Prefetto della musica’ nel Convento di San Fermo Maggiore a Verona (ca. 1614-post 1619).
- TITO OLIVATO (Varese), La musica nel convento di Saronno nei secoli XVI e XVII e il suo maggiore interprete: fra Sisto Reina.
- RODOBALDO TIBALDI (Università di Pavia), Giacomo Moro e Berardo Marchesi, ovvero gli altri Viadana.
- TOMASZ JEŻ (Università di Varsavia), Ricezione dei musici operanti al Santo di Padova nella Breslavia protestante del primo Barocco.
- STANISLAV TUKSAR (University of Zagreb)-LUCIJA KONFIC (Croatian Academy of Sciences and Arts), Music connections of Antoniana with the Eastern Adriatic coast.
- ENNIO STIPČEVIĆ (Croatian Academy of Sciences and Arts), Il compositore e le sue scelte poetiche: il caso di fra Gabriello Puliti e i poeti istriani
Mercoledì 3 luglio, ore 9.30
- IVANO BETTIN (Università degli Studi di Milano), Francesc’Antonio Urio: nuovi dati biografici.
- ALAN MADDOX (University of Sydney), Francesco Antonio Calegari’s passion music, Padua, 1718.
- MARC VANSCHEEUWIJCK (University of Oregon), Un virtuoso al servizio della cappella di Sant’Antonio in Padova: Antonio Vandini suonatore di violoncello.
- LUIGI COLLARILE (Université de Fribourg), La memoria del modello. Ancora sulla questione delle citazioni nell’Annuale di Giovanni Battista Fasolo (1645).
- STEWART CARTER (Wake Forest University), From the Singer’s Voice to the Listener’s Ear: Zaccaria Tevo and the “Science” of Music
- GREGORY BARNETT (Rice University), Vallotti and the historiography of tonal organization.
- PIERO GARGIULO (Conservatorio di musica “Luigi Cherubini” di Firenze), Giovani! Studiate il Vallotti, il più grande degli armonisti moderni! Note e riflessioni sul Trattato della Moderna Musica, 1735ca.
- Conclusione dei lavori
Comitato ordinatore: Maurizio Padoan (A.M.I.S. Como - Università Cattolica di Milano), Ludovico Bertazzo (Corpus Musicum Franciscanum), Piero Gargiulo (Società Italiana di Musicologia), Andrea Luppi (A.M.I.S. Como - Università Cattolica di Brescia), Alberto Colzani (A.M.I.S. Como), Licia Mari (Università Cattolica di Brescia)
Informazioni: CSA – CENTRO STUDI ANTONIANI – PADOVA
To any student of early modern Conventual Franciscans, the role of polyphonic music in the order’s life is quite apparent. Between 1515 and 1750, something like fifty of its members were documentable composers, and the friars often were chapelmasters at cathedrals throughout Italy (although Clement XI imposed a ban on this activity in 1703). Still, the role of music inside the order’s culture is little explored, and thus the Padua conference on Conventual musicians and Baroque culture in the Po Valley (“Barocco padano e musicisti francescani: L’apporto dei maestri Conventuali”) hosted by the Centro Studi Antoniani on 1-3 July 2013 was quite timely. (The Observant branch of the order, more linked to Gregorian chant instruction although also producing composers, figured in several of the papers as well.)
There were several overall themes: the role of music in Franciscan institutions (obviously Padua and Assisi, but also Venice and Milan); the careers of friars as performers and/or composers; the music for feasts in the Franciscan calendar; and the role of musical Franciscans outside present-day Italy (Poland, Istria, and the Croatian littoral). Manuel Bertolini (Milan) opened the conference by highlighing the ways in which music appeared in Franciscan instruction manuals for confessors and writings on moral theology, always an important area for Conventuals; perhaps most interesting for the order’s ethos was the emphasis on making “good” music. For the Seicento, musical life in Conventual foundations was described by Maurizio Padoan (Brescia) for the Santo, thus furnishing important updates and a theoretical basis for the pioneering documentation of the basilica’s musical life done a generation ago by Antonio Sartori. The sometimes difficult to ascertain musical life of the Frari in Venice was clear in Jonathan Glixon’s (Lexington) ongoing work on the church, its musicians, and its confraternities, while Christine Getz (Iowa City) related some of Antonio Mortaro’s music around 1600 to altarpieces and devotion in Milan’s S. Francesco Grande. One important composer, Valerio Bona, was a pupil of the premier Conventual figure Costanzo Porta, and Licia Mari (Mantua) provided a thorough view of music at the Franciscan basilica of S. Fermo in Verona during’s Bona’s stay there. Another important Franciscan shrine was S. Maria dei Miracoli in Saronno, and Tito Olivato (Varese) went over the ongoing series of modern editions by a prolific composer trained and active in Saronno, Sisto Reina.
Reina’s productivity was quite common among Conventual composers, including secular music, and several papers focused on specific friars’ outputs. Anne Schnoebelen (Houston) went over innovations in Mass settings in and around the Santo (Amadio Freddi and Leandro Gallerano) in the early Seicento, while David Bryant (Venice) gave some results for Paduan churches of the enormous documentation of polyphonic performances on patronal and other feasts that his research team is uncovering in a number of cities in the Veneto. Jeffrey Kurtzman (St. Louis) returned to the question of transposition and notation, using an edition of Giulio Belli as a case study, as did Fred Kiser (Iowa City; in absentia) for a print by Giovanni Ghizzolo. The discussion in this session was aided enormously by the presence of Bruce Dickey (Basel/Bologna), one of the foremost specialists in Italian instrumental music of the period. This writer examined issues in the Holy Week music of Costanzo Porta, while Francisco Passadore (Vicenza) analyzed another print by Belli, and several papers turned to mid-Seicento composers, notably Daniele Torelli (Bozen/Bolzano) on the peripatetic Giovanni Battista Cesena and Luigi Collarile’s (Fribourg) stimulating ideas on invention and imitation in pieces from one of the basic organ manuals of the century, G. B. Fasolo’s Annuale of 1645. Although evidently not a Conventual but an Observant, Giacomo Moro remains a fascinating figure of c. 1600 (he was inter alia Torquato Tasso’s confessor at one point), and Rodobaldo Tibaldi (Cremona) expanded his fundamental new biography of Moro in the Dizionario biografico degli italiani with a paper giving a clear sense of the wide range of genres and styles in which Moro composed, important for anyone working on Italian sacred music in the period (also for its inclusion of the almost-unknown Berardo Marchesi).
Although Conventuals were active all over north and central Italy (the early history of music at SS. Apostoli in Rome remains to be studied), they also ranged to the Venetian Adriatic and north of the Alps. Tomasz Jeż (Warsaw) gave a fascinating overview of how prints by Balbi, Belli, and Amadio Freddi were used by both Protestant and Catholic musical establishments in seventeenth-century Wrocław/Breslau. Enno Stipčević’s (Zagreb; in absentia) paper had the greatest discussion of secular music, as it discussed the relationship between Gabriello Puliti and academic/intellectual circles in Istria where he was active from 1604 onwards. Such presence of Franciscan musicians continued into the Settecento, as Stanislav Tuksar and Lucija Konfic (Zagreb) discussed composers active at the Santo whose works are found in Dalmatian archives, especially the works of the Croatian Franciscan G. M. Stratico (1728-83), who studied with Giuseppe Tartini in Padua, worked at the basilica, and left a considerable corpus of instrumental music.
Although Clement XI’s restrictions changed the sites of Franciscan musical activity in the Settecento, they did little to lessen it. Although the famous (and best-studied) Conventual figure of the eighteenth century, Giambattista Martini, was not directly considered, still Francesco Antonio Vallotti’s surprisingly sympathetic and historiographically continuous view of earlier music was the subject of a thought-provoking paper by Gregory Barnett (Houston), a topic taken up for an earlier generation by Stewart Carter’s (Winston-Salem) discussion of the theorist Zaccaria Tevo. Piero Gargiulo (Florence) also addressed Vallotti’s ongoing importance for Ottocento musicians, while Ivano Bettin (Milan) furnished new details on the career of the singer and composer Francesco Antonio Urio. Alan Maddox (Sydney) outlined the seemingly unique Passion turba settings of F. A. Calegari for the Santo in 1718, and the repertory (and instrumental technique) of one of the basilica’s most famous musicians, the cellist Antonio Vandini, was illuminated by Marc Vanscheeuwijck’s (Eugene) paper, his approach also benefiting from a performer’s insights into cello writing.
The conference’s location in the basilica’s complex also made for an appropriate setting, while a special concert of first modern performances from this repertory helped make its content audible. It was hosted in the best traditions of Franciscan hospitality by Frs. Luciano and Ludovico Bertazzo, OFM Conv., for the CSA and the Corpus Musicum Franciscanum. The conference conveyed both the richness of Conventual musical traditions and the amount of work remaining to be done.
Robert L. Kendrick (University of Chicago)